• Complicated twist
• muscular

• Shows self-confidence
• Smooth perfection, grace of Raphael
• Delicate sfumato of Leonardo
• Convex mirror, distortion; Mannerist—new ways to show illusions; not perfection, but what eye sees; distortion

• Can you think of a fashion you wore when you were younger that you would never wear now? Why do fashions change?

• Something happened in 1517 that changed everything (What)?
• Martin Luther posted 95 theses (statements) challenging the doctrine of Catholicism; whole regions left Catholic Church (mostly northern Europe); no longer 1 religious power

• Church in Italy responded by approving images but standardizing what was acceptable

• Extreme shifts in fashion

• Contrast from figure on the cross! More of Italian ideal figure (but weightless)
• Perspective—tomb; learned from Italian Renaissance but not tied to it

• Spain at height of political and economic power (Golden Age of Spain); colonies as well as power in Europe; bond with Italy and Catholicism; even stricter than Italy
• Learned still life from Dutch painters; borrow super naturalism but make their own style
• Stark; clear order; Caravaggio light; effective shadow, makes it almost mystical; (Cotan was a Carthusian monk—simplicity)
• space: cucumber juts out, enters our space
• Relates to discoveries in astronomy; Galileo, Isaac Newton both 17th-century artists
• all four of the items here were introduced from Europe for cultivation in the New World, perhaps alluding, however obliquely, to Empire and conversion
• Discuss balance, composition, principles of design
  San Diego Museum of Art

• Dutch Still Life paintings (artists began to specialize; niche in market)
• Chose different textures and surfaces; shows off skill
• Moralizing: peeled fruit (lemons rare; but don’t last), wine glass not full (pleasures don’t last); broken glass=transience of life, passing of earthly pleasures (vanitas again)
• Feast for the eyes; super naturalism, handling of light, reflections (goes back to Jan van Eyck; but now the subject itself, not just background),
• Almost monochromatic (unlike the ones from Flanders)

• Loved to dance and wanted to show off his shapely legs; big hair, huge column and drapery; nobody else in picture
• So popular that Rigaud had many copies made in his studio; one at Getty Museum in LA
• Louis XIV established the French Academy

• Opulent, decorative, highly detailed, gold and pastels
• Rococo comes from word “rocaille”—shells and pebbles used for inlaid decorations
• Salon—place for intimate gatherings full of witty conversation
• Artifice valued 
• Social suicide: enthusiasm and sincerity

• Associated with France but style spread

• Born in Switzerland, studied in Rome, moved to London in 1766; friends with Joshua Reynolds, first president of the Royal Academy founded 1768, and was a founding member (one of only two women admitted into the academy before the 20th century; only female history painter of 18th century
• Story from Roman history (only female history painter of 18th century; not content to paint portraits or still-lifes (most women did not have her opportunities)
• Visiting friend is showing off her jewelry to Cornelia Gracchus and asks to see her jewels; Cornelia points to her children and says “These are my jewels.” (Her sons became great politicians)
• Cornelia not just famous for motherhood but was one of the most powerful women in the history of the Roman Republic; model for Kauffman;
• Popular subject; new interest in the importance of the family unit; Enlightenment teachings of Jean-Jacques Rousseau, who advocated that parents should nurture their children at home rather than sending them off to wet nurses and nannies until they were adolescents.
• Neoclassical elements: Planarity (shallow space), Linearity (but softer than David), tight brushwork, even lighting, sculptural forms, Classical figures and themes (and dress), moralistic/virtuous subject
• Austere; bare floors and walls; but delicate version of neoclassicism

• companion piece to Monk by the Sea: What is the mood? Silent, bleak; somber sky at twilight, cold (winter); everything dead or dying
• What kind of abbey is this? Medieval, crumbling—age past; human achievement crumbling; funeral procession—thought to be of monk above; how significant are the people? What is more significant? Nature outlives achievements of man; 
• Any hope? New Moon: symbol of waxing/waning/rebirth? Morning will come, spring will come, Resurrection (crosses)
• Sublime: awesome, frightening force of nature—wants us to see God’s presence in nature (more than in the church?)
• “Every time I come across this painting I always just stop and stare in awe. It has that mystery and that wonder behind it.” Carlie Fullam
• Compare with Turner (above): Similar force of nature but dissimilar in style: Friedrich is more detailed, harder lines; linear vs. painterly
• Landscape is a metaphor for transience of life, human achievement
• Nationalism: part of Romantic movement; Herder collected folk songs and made anthology, Grimm brothers collected folk tales; searching shared past united people more than an allegiance to an aristocracy;
• No Germany in 1810; loose union of about 300 German-speaking states
• Hopes for unification crushed under Napoleon’s rule; oaks and Gothic abbey (Goethe said Gothic architecture originated in Germany) symbols of demise of nationalism; reflection of the national mood, national crisis

• Doesn’t look radical, but idea was radical
• Realism=real life
• Accepted at the Salon in 1850, people criticized because of common people, common clothing,  common setting; dog 
• Whose funeral? We don’t even know. Just reporting the scene
• “history painting” about real life. “Show me an angel and I’ll paint one.” 
• Monumental paintings used to be religious or mythological: Courbet thought average, everyday people worthy of monumental painting
• Not even a story, like Raft of Medusa

a style of painting developed in France during the mid-to-late 19th century

lack of atomospheric perspective

While Realism and Impressionism had sought to capture the essence of the modern world, Post-Impressionism, Symbolism, and Art Nouveau largely struggled to escape it and to provide an antidote

Felt western civilization lacked spirituality—too materialistic

• Believed art of ancient and non-western cultures had more spiritual strength

• Went to Brittany (western France) to live among peasants; seeking a simpler society in tune with nature

• Religion still part of everyday life for peasants; still wore distinctive regional costume? tried to depict their simple, direct faith through art that was direct, authentic, and free of civilized influences (perspective, shading)

• Looked at folk art, children’s art, medieval art, medieval stained glass windows

• Women have just heard a sermon about Jacob wrestling with the angel; they see a vision of the story along with a cow (spirituality in every thing—struggling shapes have shape of cow)\

• Shapes reduced to flat, curvilinear, outlined areas; little shadow (like Japanese prints and stained glass)

• Background plane tilted up, flat red (mystical; felt deep space was distracting to message)

• Diagonal of apple tree like Japanese prints

• Perspective of Degas

• Hats, bonnet strings look animated
  Influenced a lot of other painters

Theme: Escaping Modernity

Post=Ferris Bueller at Art Institute of Chicago (1:50)

Impressionism=Loving Vincent

“While Realism and Impressionism had sought to capture the essence of the modern world, Post-Impressionism, Symbolism, and Art Nouveau largely struggled to escape it and to provide an antidote.”

Artists have unique vision; no mistaking one artist for another

The representation of subjects or ideas by use of a device or motif to create underlying meaning.

This work is part of the art movement called

• Symbolism

The strong diagonal and the tilted picture plane can be seen as an influence from

• Japanese prints

The expressive brushstrokes can be seen as an influence from 

• Van Gogh

The overall mood expressed here is

• Anxiety

style of painting that flourished in France around the turn of the 20th century

removing the naturalistic description function from color 

an early twentieth 

German art movement that emphasized the artist's inner feelings or ideas over replicating reality

Surrealism: 1930’s; element of chance (like Dada); randomness related to dream states;
juxtaposition of unrelated objects; exploration of the subconscious mind; dream images;
stream of consciousness

a 20th-century avant-garde movement in art and literature which sought to release the creative potential of the unconscious mind, for example by the irrational juxtaposition of images.

focus on:

• 1930’s

• Element of chance (like Dada)

• Randomness related to dream states

• Juxtaposition of unrelated objects

• Exploration of the subconscious mind

• Dream images

Stream of consciousness

Pop Art:

• Reaction to elitism of Abstract Expressionism;

• unemotional

• Similar to Dada in love of ready-made, common objects

• Sought a mass-produced look—accessible

• Interested in mass media and pop culture

Reaction to elitism of Abstract Expressionism

Sought a mass-produced look—accessible

Similar to Dada in love of ready-made, common objects

Pop art is an art movement that emerged in the United Kingdom and the United States during the mid- to late-1950s.

The movement presented a challenge to traditions of fine art by including imagery from popular and mass culture, such as advertising, comic books and mundane mass-produced objects.

Rene Magritte, The False Mirror, 1928 (from Brussels)

• Not all surrealist art was nonrepresentational

• Claims superiority of unconscious mind over conscious mind

• Iris like eclipsed sun, behind which lies unconscious; eye absorbs only the visual world, but not the inner world of the unconscious

Theme: Looking Inward   

focus on:

• Dada

• Surrealism

• Organic Sculpture

• De Stijl

• Regionalism

• Harlem Renaissance

• Social Realism 

• egg based paint
• dries quickly
• opaque
• hatching

• water-based paint
• on wet plaster
• dries quickly

• glazing 
• dries slowly

• linear perspective

• fresco

• Awareness of Brunelleschi; deep space, linear perspective (application of mathematics to pictorial organization)
• Where is vanishing point?
• How does Masaccio refer to ancient classical architecture?
• Skeleton on sarcophagus: “What I once was, you are; what I am, you will become.”

• Venus

• linear perspective

• Mythology; for Medici circle (oranges represent medici family as well as fertility)
• The reading of the picture is from right to left: Zephyr, the biting wind of March, kidnaps and possesses the nymph Chloris, whom he later marries and transforms into a deity; she becomes the goddess of Spring, eternal bearer of life, and is scattering roses on the ground.[7]  
• Venus and Cupid, 3 graces, Hermes (Roman equivalent of Mercury) or Mars
• Typical of Renaissance: classical theme, clothing; clothing shows form underneath
• Northern influence: detailed plants, flat, looks like tapestry, elegant poses, floating rather than weighty bodies, courtly elegance

• the use of fresco

• Venice: St. Francis stepping out of hermit’s cell (tradition: receives stigmata—wounds of Christ)
• St. Francis felt the sun was a symbol of Christ; miraculous light
• Solitary life and nature way to be close to God (animals also solitary: heron, bittern, rabbit)
• Donkey symbol of St Francis (from 200 years earlier in Assisi)
• Patron saint of: animals; the environment; Italy; merchants; stowaways;[2] cub scouts; San Francisco, California
• Spirituality in nature; means to communicate with God
• Combines perspective (Florence), oil paint and layers of paint (Flanders) and focus on light and color (Venice)
• Hymn #62, All Creatures of Our God and King

• Quatrefoil- an ornamental design of four lobes or leaves as used in architectural tracery, resembling a flower or four-leaf clover.

• 7 entries, 2 survive:

• Brunelleschi: Dramatic moment
• Ram scratches
• Figures off the frame

• Ghiberti: Difference in Isaac? (doesn’t struggle; heroic pose)
• Classical torso
• Technical finesse: cast in one piece
• Why did it win? Classical restraint?
• Worked on for 20 years; artists of next generation would have spent time there

• Double shell (hollow)
• Ribs
• Skeletal structure
• Materials locked into place
• Chains inside dome
• Cantilevered scaffolding
• New pulleys and hoists

• no capital
  • In architecture the capital or chapiter forms the topmost member of a column. It mediates between the column and the load thrusting down upon it, broadening the area of the column's supporting surface.

• curly que capitals

• decorative detailed capitals

• Advocated ideal proportions (Classical): circles and squares perfect forms, arches on columns, pediments
  • Pediments are a form of gable in classical architecture, usually of a triangular shape. Pediments are placed above the horizontal structure of the cornice, or entablature if supported by columns.
• but on an older Christian church; aim not just to copy but to surpass and to reconcile with Christianity

• islonic in the arches
• eternaty
• square represents earth
• circle represents heaven

• contrapposto
• looking behond

• Left side emphasizes vertical and static
• Right side emphasizes diagonal and kinetic
• Contrapposto: weight distrubution

• Expensive

• Self-awakening; David admires what he has done

• Commissioned after Ghiberti and workshop finished first set of doors 

• arches and columns 
  • arches inside arches
  • get lower and lower as they go into space
• depth of relief
  • low and high relief
    • in the front the people stick out more
    • in the back the are lower and not as president
  • overlapping of figures
  • as figures get farther away the get smaller and rise up in composition
  • look as though it would continue to left and right
• liner perspective 

• left: Isaac sends Esau off to hunt; confers blessing on disguised Jacob on the right (continuous narrative);
• Medieval theologians thought of story as foreshadowing of Christianity replacing older Judaism
• Linear perspective (see detail next)

• looks like they will plaster wall
• it dries fast
• when paint touches plaster, it becomes one with the plaster
  • its not on top of it

• story: crucifixion
• focal point: Jesus (white robe)
• People: saint Mary, Jesus
• size: floor to ceiling 
• medium: fresco 
• space: linear perspective (lines meet at center point: orthogonal lines)
• balance: 2 people on each side of Jesus and one at top, creates a triangle( premarital composition) (calm and stability)
• light: consistent lighting, naturalism in light and shadow

• Catholic
  • believe in trinity (3 people in one)
    • No body (not tangible) 
  • not loving God but more of a respecting God, fearing him
  • unobtainable 

• higher and holier than us
• united

• Christ is focal point
  • higher value contrast
• Father is above Jesus
  • creator
• 
  

• behind Jesus

• How does he define space?
  • figures get smaller the farther they are
    • as well as trees
    • also get higher up on ground
• uses continuous narrative
  • same person in painting a few times to show their story
• Atmospheric perspective

• really realistic architecture 

• complementary colors

• John the Baptist in red
  • lives in the wilderness
• Mary on throne with baby Jesus
• Saint Francis (bald)
  • of a ce ce 
• Saint Lucy
  • patron saint of vision
• Saint Zenobius
  • patron of Florence

• birds eye view
• worms eye view

• 3d
  • steps on first level
• 2d
  • no shadows or shading
  • no deference between wall and floor

• Rich in color, pattern, and variations
• What is 2-D
• What is 3-D

• Everyday life; clarity of space and design (multi views)
• Scene outside a mosque; rich man meets a beggar at the doorway; another man washes at a fountain

• love of decorative patterns
• elegant poses
• rich, expensive material's used
  • blue paint

• paint sparkles 
• patterns everywhere 

• linear perspective 
• classical architecture
• not a lot of symbolism
  • you were just supposed to remember the story

• linear perspective 

• northern international Gothic
  • floaty feet
  • elegance portrayed 
• Iconography
  • Venus in middle
  • cupid above
  • oranges on a tree

• boy sees past ugly nose, sees him for who he is

•  Not only is this graphically ugly nose a dominant feature of the painting; it also happens to fall directly in the line of sight between the old man and the young boy. 

• I suppose this painting is an example of what the Lord meant when he said we should become as little children, who are so loving and forgiving.  This is an example of what is beautiful or lovely that goes much deeper than fleeting, superficial characteristics.”

• He miraculously survived, and then clubbed to death
• Arrows thought to diagram shifting body; highlight contrapposto

• Scenes below show everyday life of Ludovico and family
• Room might have functioned as a ceremonial greeting space

• in a town square

• sense of impending action
• sling in hand
• relaxed body and competitive facial expression

• John the Baptist

• foreshortening

• a mysterious, otherworldly background

• contrapposto
• pyramid composition
• sculpturally solid figures
• all characteristics of Leo's Virgin of the Rocks

• three quader perspective
• Ginevra de’ Benci completed during his student years (20’s) (National Gallery of Art, Washington D.C.—only painting by da Vinci in US)

• First scientific illustrator; dissected corpses (difficult to gain access to human cadavers; gained access through hospitals)
• Obsession with the way the body works
• Interest in human body part of humanist view of man’s centrality, beauty of form, and superior intellect
• Backwards notes
  • mirror image
• call him a Renisance man
  • he was a science man, art

• Read ancient texts; treatise by Roman architect Vitruvius: notion that the human body may be used to derive the perfect geometrical forms of the circle and the square; humanist idea of finding man’s place in the world and importance of geometry, rational thought
• divine creations
• “The Vitruvian man is basically a Behind the Scenes Look at Leonardo. It is heart wrenching in a good way. Not a penstroke out of place, proportion of the human body at its finest.” (Lauren Steimle)

• 2 fingers (blessing gesture)

• loving 

• pointing Jesus to John the Baptist 

• “ He clutches the knife that is before him on the table and angrily glares at Judas as though to say: “I’ll bet it’s you!”  Ghirlandaio’s tense representation of anger bordering on violence gives insights into the fiery and impulsive character of this soon to be humbled disciple. And it is this anger and violence in contrast to the loving and forgiving face of the Savior that makes the message of this painting even more beautiful. “

• Religion: Christian
• Christ is calm, stable: shows his submission to God’s will
• Use of gestures to portray the apostles trying to find who would betray Jesus 

• Leonardo wrote that the highest and most difficult aim of painting is to depict the “intention of man’s soul” 

• Refectory (dining hall) of Dominican monastery in Milan; monks or nuns would dine silently and contemplate; instantly famous
• Wall painting: traditionally fresco; limitations! Tried oil-tempera mixture on dry plaster; did not adhere well (started cracking/peeling soon after)
• Familiar with earlier versions (see next 2 slides):
• Similarities? All use linear perspective, all create stage or annex to room
• Differences? Deeper space, vanishing point above Christ’s head: he is central figure framed by light and window opening (pediment acts as halo); also parting on either side, triangular pose all focus attention to Christ

• naturalism- humanistic
• stolen before world war 2, 
  • by an Italian guy when it came back it was more famous because it was stolen 
• 
  

• Medium: oil
• Focus on Mona by having cool colors for the background and her be in warm colors
• realistic darker shading
• asymmetrical balance 

•  People: Mona Lisa (wife of wealthy silk merchant)
• symbolism: her smile represents the sitter 

• no elements of religion
• revolutionizing contemporary portrait painting 

• “What we may like in Mona Lisa’s face is an impression of a combination of vast experience and serenity; a sense that here is a human being who is aware of all sorts of eventualities and dynamics in other people, and is still able to be fond of them. It is really the kind of attitude we long to find in an ideal  . . Friend, someone who might know us for who we truly are, with all our secrets and our darkness, yet still regard us with tenderness and generosity.” Alain de Botton and John Armstrong, Art as Therapy, p. 165

• Greek cross
• Based on circles and squares (perfect forms)
• Perfect symmetry, proportion, geometry; rational, harmony
  • Bramante died before he could build it

• He wrote that the highest and most difficult aim of painting is to depict the “intention of man’s soul” 

• Carved his name on Mary’s sash to assert authorship; instantly famous

• some people called it sitting contrapposto
  • look like his about to get up and deal with the Israelites worshiping golden calf's 

• originally meant to be beams of light, got misinterpreted

• Sculpture and architecture combined
• Point out Moses

• (See Perugino on right: Delivery of the Keys, 1482)

• “I really love this artwork because of the detailed and realistic figures distributed rhythmically within an architectural framework. I also feel related with this work because of my beliefs and understanding about the Christian subject. Most of the figures are in a relaxed position (contrapposto) and they have a realistic drawing with good proportions and quality line. I enjoyed learning about the useful technique of drawing to record monument, to create volume and to preserve compositions. I also learned about the importance of properly using space, alignment and shadows, in order to create realistic and proportional figures. The quality drawing gives emphasis on the light, color and mood in the composition. The good use of light and shadows (chiaroscuro) give the figures volume and form. The fresco values depict not the physical molding, but the soul and emotions.” Diego Santos

• Complicated twist
• muscular

• Look at painted sculptures, complexity of architecture
• Cleaned in 1980’s; colors more brilliant and varied than thought
• Adam and Eve similar to Masaccio

• Not a physical molding but giving divine spark: good symbol for how people saw Michelangelo (and how he saw himself)

• I don’t want to be cliché and pick this piece of art, but Michelangelo’s Sistine Chapel really did move me deeply as we studied it. So much love and care was put into this project. His time and dedication to studying the human anatomy and art in general just makes me idealize him (regardless of what a cranky old man he apparently was). Imbalance and imperfection does not seem to exist in his work. His attention to every single minute detail just astounds me. What patience he must have had with himself. Not to mention how he portrayed the human body. His nudes are so beautifully celebrating the human body and God’s creation of us. I just love the looks that God and Adam exchange in The Creation of Adam. Such love and paternal intimacy is expressed between the two. I admire Michelangelo and his study, dedication and work so much. Seeing the Sistine Chapel is definitely on my list of things to do before I die.

• guy on bed (not wanting to get be up)
  • college student 
• God trying to help him get up
  • guy wont get up without help

• cartoon of him saying
  • "how much longer do I have to stay in this position?" Im Hungry and bored

• Jesus grabbing the book of scriptures

• Leonardo
  • graceful 
  • lyrical
  • chiaroscuro 
  • pyramid
• Michelangelo
  • movements of musculature
  • complex poses 
  • pyramid

• Student of Bellini
• Giorgione specialized in works for homes of wealthy collectors

•   Makes eye contact (slightly looks down on us)
•   projecting arm (huge sleeve)
•   rich clothing (fur robe)
•   textures of hair, cloth

• Chiaroscuro, in art, is the use of strong contrasts between light and dark, usually bold contrasts affecting a whole composition. It is also a technical term used by artists and art historians for the use of contrasts of light to achieve a sense of volume in modelling three-dimensional objects and figures. 

• Linear perspective, contrapposto, pyramidal compositions, ¾ pose perfected
•  Still looking to ancient architecture, sculpture, mythology, philosophy

•  Fresco, oil, marble

•  Religious (Christian) subjects, portraits, mythology/history

•  Sfumato, more naturalism in human body and more complex poses

•  Idea of artist as genius; perfect proportions; elegance and perfection

• Venice: emphasis on mood, light, color, nature

• Near Eastern architects, Egyptians, Greeks, Etruscans all used—but usually underground, utilitarian—not for monumental public buildings

• Masaccio

• Early Renaissance

• Linear perspective

• Fresco

• The donors

• Botticelli

• Medici

• Venus

• linear perspective

• Perugino 

• St. Peter
  • wearing key

• Rome

• multiple vanishing points   

• chiaroscuro (modeling of lights and darks) to create volume
• placement within a larger program or cycle
• fresco 

• using continuous narration

• the popes

• mark Rome as an artistic center during the Renaissance

• Donatello

• contrapposto

• Florence

•  Greek and Roman art

• St. Mark

• cloth guild

• Christian subject matter

• Donatello

• contrapposto

• nudity

• Classical Greece and Rome 

• sense of impending action 

• Florence

• in a town square 

• Titian

• high renaissance

• oil

• donors

• Sacra conversazione

• cast shadows

• Venice

• diagonal

• a. Both are Christian subjects featuring Christ and Mary
• b. Both use a pyramidal composition
• c. Both use naturalistic modeling, or chiaroscuro, in the       drapery, etc.
• d. Both feature classical architecture such as pilasters (flat   columns) and arches
• e. Both feature figures from different time periods (donors on the left, saints on the right)
• f. Both use linear perspective to show a naturalistic illusion of space

• a.L is fresco; R is oil
• b.L has less variation between lights and darks due to the fresco medium; R has a wider range of values and more vibrant, glowing colors due to the oil medium
• c.L has obvious signs of divinity (haloes, dove, God the Father standing above); R shows divine figures more humanly
• d.L: Figures fill up most of the space; R: Figures take up left than half of the composition
• e.L: Figures appear formally posed and focused on Christ’s crucifixion; R: Figures appear less formal in that they appear engrossed in reading, etc. and focus in different directions

• These two works both show the drive for greater naturalism during the Early Renaissance through the use of chiaroscuro, contrapposto, linear perspective.
• The pyramidal and symmetrical compositions in each work show the Early Renaissance love for stability, order, and calm.
• The difference in medium shows the introduction of oil paint from Northern Europe via Venice (in northern Italy).

• The New Testament

• exaggerated elegance

• chapel in a church

• She spent many years as the court painter to the royal family in Spain

• received a humanist education provided by her father

•   Keystones:
  •   not fully settled or slipping out
  •   over rectangular niches (no arches)
  •   massive columns holding narrow architraves
  •   architraves break midway between columns
  •   triglyphs slipping down

•   pediment above door is broken
•   pilasters around blank niches taper downward
•   columns belong to no order; in pairs
•   columnms have no supportive function (sunken)
•   scroll backets support nothing
•   mismatched staircase
•   recessed columns (supposed to project from wall to stress separate identities)

• A.D. (built by Constantine)  

• Expressive grouping-M
• Chiaroscuro-L
• grace-R

• Colors unnatural (sky, Christ is greenish)
• Light—irrational, spotlights
• Background—flat, one plane, stagelike (no longer window looking onto nature)
• Center is empty
• Figures elongated

• Less interest in order, stabililty, balance; more expressive, emotionally charged
• Composition still leads eye to Christ; triangular, ladders, gestures
• Figures elongated

• Italy

• Shows self-confidence
• Smooth perfection, grace of Raphael
• Delicate sfumato of Leonardo
• Convex mirror, distortion; Mannerist—new ways to show illusions; not perfection, but what eye sees; distortion

• This work is part of which period?
  • Late Renaissance/Mannerism: Painting in Florence
• Name 4 characteristics that place this work in the period you named
  •  aesthetic anarchy
  •  used clashing colors and many bizarre themes
  • a stylized, exaggerated approach to painting and sculpture

medium- Oil on wood

Bronzino, Portrait of a Young Man: Metropolitan Museum, NY

Proud, sophisticated, intellectual—not merchant or worker

• Intellectual Style

  • art that in informed by thoughtful consideration and invites the same as opposed to strictly

Cool demeanor; formal, arrogant? 

Graceful hands

Masks=deceit; favorite device; maybe the young man is deceitful in his arrogance; wandering eye

• The sitter is not known, but he must have belonged to Bronzino's close circle of literary friends in Florence, a number of whom sat for the artist. Bronzino himself composed verses in the style of the great Florentine poet Petrarch (1304–74), and the fanciful and witty details in this picture—the carved grotesque heads on the table and chair and the masklike face suggested in the folds of the youth's breeches—would have been appreciated by writers as comments on masks and identity. The book is doubtless a collection of poems.

• some saying hes to heavy, others pretending to help
• one asking her mom why she has to help
• old lady watching them carry him and doing nothing
• 2 on top admiring the view
• one looking away, what a shameful man

• Velazquez saw works by Titian in King Philip IV collection; loved his loose brushwork

• Aimed for naturalism of Titian’s earlier work, added everyday reality (animals, food, clothing details) and monumental architectural frameworks and pageantry, huge scale (18’x42’)

• Subject of Grand Inquisition for including “buffoons, drunkards, Germans, dwarfs, and similar vulgarities” unsuitable for a sacred scene; Veronese said, “I received the commission to decorate the picture as I saw fit. It is large, and it seemed to me, it could hold many figures.” In the end, the Inquisition just required him to change the title from Last Supper to Feast in the House of Levi

What is the specific stylistic period of painting 2?

• Late Renaissance/Mannerism: Painting in Venice

medium- oil on canvas

Jacopo Tintoretto, The Last Supper* (4:56—stop at about 4)

Another Last Supper

Tintoretto (Jacopo Robusti) wanted to “paint like Titian and design like Michelangelo”

Expressive; compare with Leonardo (above)

Leonardo: balance, clarity

Tintoretto: sharp angles, not centered, deep perspective, Christ on side

• Naturalistic?  everyday clutter

• Angels, smoke in oil lamps, halo; blur between natural and supernatural; divine in everyday setting

Miracle of the Eucharist (drama of Judas downplayed)

“One piece that really stood out to me this semester was Jacopo Tintoretto's The Last Supper (1592-94).  When I first saw this piece I felt like I could stare at it for hours and still not be able to take it all in.  One of my favorite parts about it is that the light in the painting radiates from the apostles and Jesus.  The message in this light really spoke to me.  I felt like it was saying that are world was in darkness and lost but Jesus came and is the light that we must follow if we want to be saved.  If we can take his teachings and become his true followers in heart then we can have some of that light and people will be able to see the light of Christ through us.  Hence the light radiating for the apostles who have given up there life's to serve him. Another thing that I love about the painting is just the look of it.   I love how the smoke from the only other light source in the room shapes into angels.  The effect is so realistic and I think it reminds us that there are angels around us guiding us and watching over are lives.  I also love how he didn't flatten the image by putting a flat halo around Jesus, which was a common thing up till then,  By making the light burst from his head it makes the painting more realistic and creates a more glorified feeling throughout the piece.”  Alyssa Wadswort

WRITING TOPIC: What do you think of the Mannerists’ responses to the perfection, clarity, and balance of the High Renaissance? Do you think they should have tried to continue imitating the styles of the masters?

• My favorite piece that has moved me is Michelangelo’s Last Judgment. After reading a bit more about it I found that the Popes own Master of Ceremonies, Biagio de Cesena, criticized it and said it was fit for a tavern or a bath house and not the papal chapel, because of the nudes. Michelangelo would go on to paint Cesena's face as Minos, judge of the underworld Along with that he painted donkey ears on him as well. Michelangelo’s attitude about his own work is refreshing. He immortalized Cesena as a fool, hence the ears. He did not care about what people thought of him or his personal style. He seemed to know that this fresco portrayed something bigger than him but also gave it his own personal touch. I felt that this was a bit inspiring. We should care less about the world and what it tells us and just be ourselves.

• Why haven’t we seen any women artists yet? Born in Cremona, daughter of a nobleman, received training in painting as a professional—unusual! Most women artists learned from fathers at home
• Famous throughout Italy and beyond; exchanged drawings with Michelangelo
• Hired by Philip II of Spain as his court artist (portraits); spent 20 years there 
• Asserts her status as an artist? Celebrity; her self-portraits were in high demand
• Women artists: names & records of works in Greece and Rome recorded by Pliny
•   records of women manuscript illuminators in Middle Ages (but vast majority of artists were anonymous until late Gothic)
•   one of first women to emerge as a distinct artistic personality
• “by her hand done with the aid of a mirror”—”by her hands” placed near her hands to stress her skill
• Doesn’t choose Mannerist distortions (WHY? Maybe she had to show that she could really paint with skill)

•                 St. Anthony Abbot (right) identified with miraculous cure; healer
•                 crucifixion in the center (heroic scale)

•   religious images discouraged (especially sculpture); painting increased in importance
•   patronage: artists had to pursue new markets for their work; secular themes
•   not all bad news: growing capitalist economy brought more trade, more wealth=more patrons

• death has pitch fork 
• Famine has scale
• war is holding a sword
• pestilence is holding a bow and arrow

• monastery hospital

• on weekdays and Saturdays
  
  
  
  
  
  

• woodcut

• very distinct brush strokes 
  • showing status as an artist

• apostles 

• Italy
  
  
  
  

• dyptych

• the writings of the Pope at the bottom of the painting

• the town hall

• a. John
• b. Mark
• c. Paul
• d. Matthew

• a town hall

• Italian Renaissance art

• Dürer’s allegiance to Martin Luther and his teachings

• Catholic Church insisted that believers could take action to vouchsafe their salvation by doing good deeds, including making financial donations and paying for elaborate art to decorate Christian churches. Luther, however, insisted that salvation was in God’s hands, and all the believer had to do was to open up and have faith

• Northern European love for detail 

• loose brush strokes

• di sotto in su (worm's eye perspective)

• Many religious images were banned or destroyed during the Protestant Reformation

• linear perspective

• England

• Northern Renaissance

• two ambassadors

• Hans Holbein the Younger

• the active vs. the contemplative life

• loose brushstrokes

•   The references to earthly knowledge and accomplishments

• the marriage of King Henry VIII to Ann of Cleves

• by using tightly-blended brushstrokes
  
  
  
  
  
  

• has many crossing things like pig arms and fish (fish was showing religion back then) 

• the oysters on the ground in front of the tavern

• the open market

• Pieter Aertsen

• The open market

• a. the crossed fish
• b. the hanging meat
• c. the oysters\
• d. the pretzels

• the flight into Egypt

• Diagonal lines, repetition of trees; 
• Elements of design: shape, repetition of shapes, blue/gray/green color, contrast

• wealthy merchant 

• scarcity of food in winter

• melancholic
  
  
  
  
  
  

What is the specific stylistic period of painting 1?

• Northern Renaissance

Grain is featured in Pieter Bruegel the Elder's Peasant Wedding in each of the following details EXCEPT

• the hat of the little boy on the floor

The bride is set apart in Pieter Bruegel the Elder's Peasant Wedding in each of the following details EXCEPT

• her white headdress

Pieter Bruegel the Elder painted in the country known at the time as

• Flanders

Pieter Bruegel the Elder painted peasants because

• He and his wealthy clients were fascinated by their lifestyle
  
  
  
  
  
  

• tenebrism

• conversion

• Radical naturalism/realism
• Common setting, common people: Used live models; people he knew, ordinary people; not idealized

• Who is Christ? “Follow me”: precise moment of his calling to Matthew; personal conversion; Matthew is having a spiritual awakening

• Left: blind to the entrance of Christ (glasses)
• Element of light impt.; looks natural? but directs attention of viewer; contrast in light and dark intensifies subject, charges with symbolic meaning; tenebrism

• The Apocrypha

• Caravaggio

• tutor raped her, promised to marry her
  • she had to go to trial, was tortured to see if she was telling the truth

Completed church of St. Peter’s (started by Bramante, Raphael, Michelangelo)

Crescendo of colossal order (two stories): musical term?

• or Giant Order- architectural order extending beyond one interior story, often extending through several stories.

Pilasters in corner, become closer and closer together and more freestanding

• Donatello
• Michelangelo

• St. Teresa was a nun canonized during this century; contemporary

• Influence of Caravaggio? Like still life: black background gives starkness, simplicity, purity pictorially and spiritually

• was Velazquez's slave

• Loose brushwork. This technique not only compensates for the subdued autumnal palette, but also imbues the subject with a vitality that is almost palpable. A contemporary noted that the portrait was so striking in its similitude that when it was sent to some friends for their criticism, “they stood looking at it and Pareja in awe . . . not knowing to whom they should speak or who would answer them.”
• Detail: look for looseness of brushstoke (or softness of edge); each brushstroke is not blended 
• Paradox: makes more lifelike than perfectly blended brushstrokes

• Baroque art in Spain

• Oil on canvas 
• Emphasis on light 
• Focal point on princess 
• Linear perspective
• Naturalism
•  Tenebrism (dark shadowing) 
• Muted color palette  

• Girl is the princess at that time 
• Artist is to represent him 
• The other people are people of the court
•  The king and queen are seen in the mirror

• Commissioned by king Spanish Royal family
• Influenced by Caravaggio  
• Spain is the highest power at that time 
• King of Spain had many paintings that influenced his work

• Claim to nobility of the artists 
• Great blend between everyday life and not so everyday life 
• Casual but royal

•  a middle-class open market

• the fleeting nature of life and earthly pleasures

• a militia group

•  a mascot figure

• The Last Judgment

• Drama
• Large scale
• Energy and movement
• Dynamic balance (curves, countercurves, etc.)
• High contrast (dark & light, etc.)
• Emotion
• Element of time
• Naturalism

• Intellectual, confident

• medium- oil

• Drama
• Large scale
• Energy and movement
• Dynamic balance (curves, countercurves, etc.)
• High contrast (dark & light, etc.)
• Emotion
• Element of time
• Naturalism of the Renaissance
• Caravaggio: tenebrism; uses light symbolically (Christ lightest)
• Like Bernini, uses naturalism to show supernatural forces, energy
• Naturalism of plants, dog, armor more northern in tradition (love of detail); mix of north and south 
• Expressive
• Influence of Titian, Tintoretto: rich, vibrant color

• medium- oil
• Hundreds of oil sketches; could show patrons, work out compositions, work on expressions; a library to draw from

• Family life: presents
• Details of clothing, home interiors
• Moral of jealousy, greed, pettiness (Children receiving gifts on St. Nicholas day)

• Reminder of the brevity of life

• Remember you will die

• Allegory of taste? 5 senses
• Dramatic moment from Caravaggio; spontaneity
• Dashing brushstrokes (visible); suggest lace, etc.
• Illusion of a quick sketch

• Most impt follower of Frans Hals; shows spontaneity of Hals
• Shows her as a portraitist and a genre painter (about age 21); also shows her status by her fancy clothing; member of artists’ guild in Haarlem, became a master with her own students

• Dramatic light (candle); suspenseful mood, intimacy
• How does she feel?
• Different from other “proposition” scenes with jovial women; point of view of woman?
• Signature J, L, and star; pun on name which means “leading star”

Nicolas Poussin, The Death of Germanicus: 

First French painter to gain international recognition, but built career in Rome

brought “classicism” to forefront; spent entire career in Rome except for the two years he was summoned by Louis XIII; artists at French Royal Academy chose his style to be model for French artists.

• drapery, emotion (calm), contrapposto

One of first “heroic deathbed” scenes

In Rome: studied ancient sculpture, paintings of Raphael

Story: (19 A.D.): Germanicus was a Roman general fighting against Germanic tribes; his adoptive father, the ruler in Syria, poisoned him

Left: loyal soldiers swear revenge; right: mourning family

Architecture is stage; figures horizontal (classical frieze) deep space but curtain backdrop makes shallow space

Poussin’s Grand Manner: subject should be heroic, dignity in execution (not too much minute detail—wouldn’t have liked early northern Renaissance art)

• the highest style of art in academic theory based on an idealised, classical approach. 

• It refers to death or someone in a tomb, understood as mistic or ideal place

• Classical, from ancient roman Greece, men ancient shepherds , woman are classical Greek figures 

•  I am too are arcadia (death is saying it)

• The tomb is old, more ancient than the ancient people, the sun is setting in the background, the man to the right is looking to the woman who is dressed more classical as though he is looking to the past with longing 
  
  

Idyllic Landscape

• Sacral-idyllic landscapes feature images of idealized, pastoral nature and allusions to the worship of Roman gods (altars, temples, shrines).

Claude Lorrain, A Pastoral Landscape:

Difference from Poussin landscape? Still classical, but revels in beauty of nature; not moralizing; more luscious, atmospheric

 Idyllic: glowing color, light; soft transition between foreground, middle ground, and background; poetic (did sketches outdoors)

Also spent most of life in Rome, liked the countryside; made lots of drawings on site; also first artist known to have made oil studies outside

Still composed landscapes like Poussin; not interested in accuracy but in poetic quality; often based on ancient writings

Hazy atmosphere, How does he show space? gradual receding into space (but can identify foreground, middle ground, and background)

Elevated the status of landscape painting by adding historical, biblical, and mythological subjects

• Painted for wealthier Middle class

• Somber and serious/ more modest (genre paintings), morality of family 

• Folds of clothes/drapery, use of dramatic lighting, vertical and clam, naturalism, looking like statues 

• Direct and confident gaze
• Dominance and power
• Colom to his side call back to the old world of Greek power
• Rich material with extravagant details 
• Accessories such as swords to show power
• The coat he wears was from an ermine and they had to kill however many black dots there are on the coat 
• the higher the hair, the higher in power you were
• Shows off his legs to show that he dances

• I am the state

• Greek God Apollo, sun god 

• Put this painting on his throne so when he wasn’t there, it was
  
  

• To be away from the gossip and advisory views of the noble family of Paris 

• It was the hall of mirrors, parties, dances, gambling 

• One side has big sized mirrors, other side has big windows

• The Treaty of Versailles in world war 1
  
  

• over 400 pc of sculptures
• grand canal
• statues were made of marble
• fountains made of gilded metals

What is the meaning of a fete galante?

• A. a scene of outdoor entertainment for the aristocracy

Why did Jean-Antoine Watteau paint this work?

• D. It was a reception piece for the French Academy.

The emphasis on color and open brushwork in Pilgrimage to Cythera reflects Watteau's affinity with which camp of French Academic artists?

• B. The Rubenistes

Entrance piece for French Academy; didn’t fit any of the categories, but instead of reject the work, the judges created a new category; fete-galantes= scenes of love

Poussinistes vs. Rubenistes

Which side won the day? Colorists

Loved Rubens; made many drawings after his style; sensual use of color; adds golden haze

Started career painting sets for theater; most of his works have quality of being on stage (like a dance)

Idyllic images of aristocratic life; elegant figures luxuriously dressed in outdoor settings (back to the Limbourg brothers book of hours)

Subject: not historical or mythological; didn’t fit categories at French Academy, so they created a new category of painting: fetes galantes—scenes of love, sentimentality, melancholy

Cythera=island of love in classical mythology, one of the settings for the birth of Aphrodite/Venus

Are they arriving or leaving? About to board boat? Looking back, melancholy, nostalgia

Sculpture of Venus on right; they pay homage to her; delicate colors suggest gentle nature of lovers’ relationships; subtle gradations of tone

Figures smaller in scale than most Baroque

After Watteau’s death, his art fell out of fashion. During the French Revolution, some eighty years after the work was painted, his depictions of lavishly set pastoral escapades were associated with the old days of the monarchy and a frivolous aristocracy. This particular piece, which had entered the collection of the Louvre in 1795, was used by art students for target practice; an account by Pierre Bergeret (1782–1863) describes the drawing students throwing bread pellets at it.[3] In the early 19th century the curator at the Louvre was forced to place it in storage until 1816 in order to protect the painting from angry protesters. It was not until the 1830s that Watteau and the Rococo returned into fashion.

Jean Honoré Fragonard's The Swing reflects  the pre-Revolutionary French aristocracy's

• C. indulgence

Which of the following is NOT true of Fragonard's The Swing?

• A. Fragonard sets the scene in a misty and lush overgrown garden behind a villa to reinforce the seriousness of the subject.

it is however the following

• B. Fragonard depicts a scene of scandal and flirtation, suggesting a secret love affair between the woman and the young man hidden in the bushes.

• C. The surrounding sculptures allude to secret love and the amorous playfulness of the scene.

• D. The frilly luxury of the woman's clothes and her mischievous and playful demeanor are the central focus that pull our eye into the image.

Jean-Honore Fragonard, The Swing, 1767 (3:21)

Fragonard=Disney For the First Time in Forever (3:44)

pupil of Boucher, colorist

Rococo: Fantasy, flirtation, licentiousness (cupid), pastel colors, private scene, lush landscape

“My favorite work of art this semester is The Swing. It’s so light and carefree. I really enjoy the scandalous flirtation. I find it to be rather amusing.” Brooklyn Wease

Erica Taylor:The swing by Jean-Honore Fragonard really sparked my interest. First, it is just large, plush, and very, very rococo. When I first saw it, it simply looks like a wealthy noblewoman with a suitor in a garden. When I actually read the background on it, it was actually painted for a duke who wanted to publicly express his love affair with his mistress. The painting was supposed to portray as much of his mistress as possible, but the artist didn’t want to disrupt social stances. I think I liked this so much because from an outsider’s standpoint, we see innocence. We see frolicking in a garden with semi hazy intentions. Once I found the inspiration for the painting it became clear that innocence is what lacked but the artist did a perfect job of making something so personal become sugar coated for the public.

Megan BradshawMy favorite piece of art that we've looked at is "The Swing" by Fragonard. I love that there is a story happening in the picture, and it's not one that we would normally guess. I also really like the way it was painted. The colors and brush strokes are fun to look at. I'm in an oil painting class this semester, so I think that's why it stuck out to me the most. The attention to detail is another thing I really enjoy looking at. The flowers that surround the subjects, the plants in the background, and the way her dress moves are all interesting details that make it more interesting to look at.
Emily Herrin

One of my favorite paintings is "The Swing" by Jean-Honore Fragonard from the Rococo period. It has been one of my favorites for a while and I always love reviewing it when it comes up in class. I love several things about this painting. When I first saw it, it really stood out to me. It has such a care free and natural feeling about it, which is a very stark contrast to the paintings of the Baroque period. Another thing I love about it is the color palette. The pinks of the woman's dress harmonizes with the blue greens in the rest of the painting very well and has a way of bringing it all together nicely. I also think it's fascinating how there are many hidden symbols throughout the painting that really give it depth and shows the deeper meaning of the infidelity of the piece.  

Jean-Antoine Watteau, Seated Young Woman, c. 1716 (just because he was a colorist didn’t mean he didn’t know how to draw!

Drawing technique with 3 colors of chalk: black, red, and white

Informal strokes

Francois Boucher, Portrait of Madame de Pompadour, 1756:

Studied with Watteau;  compare faces

court painter to Madame de Pompadour—Louis XV’s mistress and political advisor and major patron of the arts; known for being educated, cultured, beautiful, elegant, sophisticated;

Luxurious room, opulent dress, surrounded by accomplishments as an educated woman (books, papers)

Rococo: pastel colors, opulence, leisurely pose, aristocratic taste; also seductive (references to Venus: cupid, roses)

Artfinder (Art of the Day): This sumptuous portrait embodies the joie de vivre of the French Rococo style in general and Boucher’s style in particular: the cool harmony of colors, luminous effect, and conspicuous leisure. Here the sumptuously attired mistress of Louis XV is depicted reclining gracefully on a pillow-strewn divan. The model of physical perfection, she is also the embodiment of style and cultivation. The drawings, books, maps, and writing instruments allude to her considerable intellectual gifts and interests. One of many portraits Boucher painted of Pompadour, this celebrates her official elevation as lady-in-waiting to her lover’s wife.

Miranda Voter: A portrait that has moved me and allowed me to think about it's area is the Portrait of Madame de Pompadour by Francois Boucher in 1756. It has really allowed me to see how God was being pushed away and how the life of man was changing into the modern society that we see today. Everyone now seems to only have one thing on their mind in all of the music and literature and try and make pieces of are always relate to the sexual mind of man. This portrait just makes me think about how our society is and what people find as pleasing. The Carob next to the clock looks angry to me as if the love that it once supported and encouraged is gone as it slouches back up against the motionless clock. Madame de Pompadour is almost mirroring the carobs pose but hers is more relaxed and impatient looking. She looks to the left as if she is waiting impatiently for her lover and the book is just their to sooth her wondering mind. The lavish colors flow around the painting symbolizing to me how the people on earth want all the best but forget that it is just an inanimate object. However beautiful the cloth may be it still lies out stiff and lifeless but the beauty is all most can see. The flowers on the ground are probably a gift but they are cast away in the ingratitude that this woman has for she wants action just as the modern world does today. These are only some of the things this woman makes me think of in the modern world but it is the one that has taught me to think about where I am and what I want to be doing and be grateful for.

Pompadour hair style: Pompadour refers to a hairstyle which is named for Madame de Pompadour (1721-1764), mistress of King Louis XV. Although there are numerous variations of the style for both women and men, the basic concept is hair swept upwards from the face and worn high over the forehead, and sometimes upswept around the sides and back as well.

After its initial popularity among fashionable women in the 18th century, the style was revived as part of the Gibson Girl look in the 1890s and continued to be in vogue until World War I. The style was in vogue for women once again in the 1940s. The men's version, as worn by early rock and roll stars such as Elvis Presley, was popular in the late 1950s. Variations of the pompadour style continue to be worn by men and women in the 21st century.

Rococo Art (1710-1760)

• luxury, opulence

• aristocratic tastes

• conspicuous leisure

• pastel colors

• subjects of love, flirtation

• fantasy

• private, intimate scenes

• lush landscapes

Rosalba Carriera, Charles Sackville, Second Duke of Dorset, c. 1730: pastels (colored chalks) as finished works instead of preparatory drawings; intimate, immediate; sensuous finish

From Venice, known for showing psychological intensity of sitters, international clientele; member of 3 artist academies including French Academy

Canaletto owned a camera obscura

Jean-Simeon Chardin, Soap Bubbles, c. 1733: also member of French academy but different background: rising middle class in France, influenced by Dutch still lifes and genre scenes; patrons were also members of middle class

Virtues of hard work, frugality, honesty, family life

Bubbles: vanitas symbol: brevity of life

Rococo: intimate, private moment; also play

National Gallery, Washington D.C./ Version in LACMA

moral narrative- stories told about people's moral actions and characters.

Different tone than French Rococo! About aristocracy but painted for lower classes; laughing at foibles of aristocracy; moral but also humorous

English painter; satire paintings of social evils popular among aristocracy and newly prosperous middle class in England; “modern moral subjects . . .similar to representations on the stage.” depicted moral decline, call for return to simpler times and values; very popular; master of storytelling details.

Series were engraved and sold in large editions; first copyright laws emerged because pirated;

Lower classes had access; Hogarth knew they were his audience

Set in Rose Tavern, a famous brothel in London; full of visual clues (woman on his lap stealing his watch; black spots on their faces cover sores from syphilis) “ancestor to the storyboard” for films

Different tone than French Rococo!

English painter; satire paintings of social evils popular among aristocracy and newly prosperous middle class in England; “modern moral subjects . . .similar to representations on the stage.” depicted moral decline, call for return to simpler times and values; very popular; master of storytelling details.

Series were engraved and sold in large editions; first copyright laws emerged because pirated;

Lower classes had access; Hogarth knew they were his audience

In the first painting, Tom has come into his fortune on the death of his miserly father. While the servants mourn, he is being measured for new clothes. He is also rejecting the hand of his pregnant fiancée, Sarah Young, whom he had promised to marry (she is holding his ring and her mother is holding his love letters). He will pay her off, but it is clear that she still loves him.

Stylistic Period: Neoclassism  

The subject of The Oath of the Horatii by Jacques-Louis David came from

• Roman history

Which of the following statements is true of Jacques-Louis David's Oath of the Horatii?

• B. It was intended to be a moral example.

The Death of Marat by Jacques-Louis David was painted in support of

• B. The French Revolution

The Death of Marat by Jacques-Louis David shows compositional similarities to early depictions of

• B. The Deposition of Christ

Although Benjamin West's Death of General Wolfe was a contemporary scene, it is considered an example of Neoclassicism because it does each of the following EXCEPT

• D. depicts a classical setting and dress

This painting by Joseph Mallord William Turner was inspired by

• A. an actual event

An innovative aspect of Turner's work is the artist's

• C. manipulation of freely applied pigments

The subject matter of this painting reflects all of the following EXCEPT

• C. Neoclassical treatment of subject

This painting by Théodore Géricault shows an event from

• A. the artist's own times

The Raft of the Medusa exhibits all of the following characteristics EXCEPT

• A. hierarchical scale

What feature of Géricault's Raft of the Medusa distinguishes it as an example of Romanticism?

• the emotionalism and human suffering

Understood as a contemporary political critique, Géricault's Raft of the Medusa in an indictment of

• the French Monarchy

What is the source of Géricault's subject matter in his painting Raft of the Medusa?

• a shipwreck off the coast of Africa

How does Raft of the Medusa differ from most history paintings of the past?

• the contemporary subject matter

In The Raft of the Medusa, Géricault conveys the range of human emotion through

• the physical expressiveness of the bodies

Each of the following are characteristics of both Caravaggio's Conversion on the Road to Damascus and Géricault's Raft of the Medusa EXCEPT

• the lack of realistic details in the figures

  • it does however have

    • diagonals that animate the scene

    • strong contrasts of light and dark

    • action that seems to enter the viewer's space

4. The painting is best characterized by

• a pyramidal composition

Virginia Museum of Fine Arts

Born in Switzerland, studied in Rome, moved to London in 1766; friends with Joshua Reynolds, first president of the Royal Academy founded 1768, and was a founding member (one of only two women admitted into the academy before the 20^th century; only female history painter of 18^th century

Story from Roman history (only female history painter of 18^th century; not content to paint portraits or still-lifes (most women did not have her opportunities)

Visiting friend is showing off her jewelry to Cornelia Gracchus and asks to see her jewels; Cornelia points to her children and says “These are my jewels.” (Her sons became great politicians)

Cornelia not just famous for motherhood but was one of the most powerful women in the history of the Roman Republic; model for Kauffman;

Popular subject; new interest in the importance of the family unit; Enlightenment teachings of Jean-Jacques Rousseau, who advocated that parents should nurture their children at home rather than sending them off to wet nurses and nannies until they were adolescents.

Neoclassical elements: Planarity (shallow space), Linearity (but softer than David), tight brushwork, even lighting, sculptural forms, Classical figures and themes (and dress), moralistic/virtuous subject

Austere; bare floors and walls; but delicate version of neoclassicism

“I was really moved by the painting of the Roman woman telling another woman that her treasures were her children. This picture reminded me of my sister. As soon as I could I posted the picture and story onto my sister’s facebook and told her why it reminded me of her. Later, when we talked, I found out how touched she was by it and it brought tears to her eyes to have been related to it.” Josie Carmona

Heather Sorenson:

The piece of art that moved me the most this semester was Cornelia Presenting her Children as Treasures by Angelica Kauffmann. I had not heard this story before it was explained through the painting. The reason it touched me was because I believe that motherhood will be the most rewarding gift God will give me. This is not emphasized enough today so seeing this painting was very refreshing. I love how the children are portrayed as typical boys who can’t hold still rather than neatly dressed, well behaved children. Knowing these sloppy boys had such an important role made me realize that within all of our imperfect selves and our imperfect children there is a divine plan that God has embedded within them. I also love Cornelia’s facial expression. She does not seem overly excited to tell of her treasures but she is calm with wise eyes. She could have bragged about how wonderful her boys were or about their talents but her face does not allow me to believe that is what she is doing. It looks as if she is using a few meaningful words to tell what she lives for. I want to someday be a mother like her. 

How do you recognize Neoclassical art works that don’t have classical subjects?

Benjamin West, The Death of General Wolfe, 1770: history paintings should be historically accurate; so should contemporary history painting

British painter (American): raised outside Philadelphia; went to Rome in 1760 and studied with Mengs, Gavin Hamilton, studied ancient art and Raphael; settled in London in 1763, also a founding member of the Royal Academy in 1768 and became 2^nd president when Joshua Reynolds died; mentor for American artists and proud of his new world heritage; supported the American Revolution

Depiction of French and Indian War in Quebec; not classical in subject or costumes, but in spirit; General Wolfe a British national hero  at the moment he sacrificed his life for his country; contemporary costume and setting in Quebec (although not really historically correct); pose like images of Christ; shift of emotions from religion to nationalism

forces of nature reinforce emotional intensity

Public loved: witnessing current events (7 years earlier) before photography and film; also native American (noble savage)

2 types of revolutions:

• Industrial Revolution (began in Britain c. 1760), Political revolutions (U.S. in 1776, France in 1789)

Time of transitions:

• Rule by aristocracy to democracy

• Agriculture to industry

• Rural life to urban life

Planarity

Linearity

Tight brushwork

Even lighting

Sculptural forms

Classical architecture, figures, dress, and themes

Serious, moralistic subjects

Strong hero figures

Austerity and reduction of form

Nationalism expressed through patriotism

• manifest destiny (cole)- the idea that white Americans were divinely ordained to settle the entire continent of North America.
  

Fascination with…

• Power of nature, the “Sublime”

• Exoticism/Orientalism

  • Supernatural elements, fantasy, dreams

• Violence/horrific themes

• Longing for the past

• Intense emotion, passion

• Nationalism expressed through a return to one’s personal past (revival of folk stories, folk music, native myths and architecture)

• (Less consistent in formal qualities; can have tight or loose brushwork)

Jean-Antoine Houdon, Voltaire Seated, 1781: (one in LACMA) Doctrine of Progress: progress (through science, knowledge) is good

spirit of empiricism; studied nature; specialized in portraiture and depicted major thinkers of the Enlightenment, including Diderot, Rousseau, Louis XVI, Catherine II of Russia, and Benjamin Franklin;

Captured look and character of sitter

Terra-cotta cast from original plaster (one in LACMA)

Empiricism: sagging skin on neck, sunken mouth (toothless), slumping shoulders

Character: shows sharp intellect and wit, lively in spirit although weak in body

Classicized: Roman toga and headband, antique-style chair

Thomas Jefferson, Monticello, 1772: (Julie McKeller) Classical-revival style took off in America: Why? New republic modeled after democracy of ancient Greece and Rome

White House, Capitol building; also churches, banks, government buildings

Thomas Jefferson amateur architect; designed his home (Monticello)

The Moment When a Father Gives His Son-in-Law a Dowry. 1761

Salon: exhibition of members of the Royal Academy held in the Louvre; packed with paintings, attended by thousands of people from all classes of society; beginning of art critics

Neoclassical:

• virtuous, family life (neat, modest, hard-working, religious); lower class (Rousseau: poor are full of natural virtue, honest sentiment)

• Corresponded with ideals of Rousseau: naïve poor are closer to nature and are thus more virtuous and moral than more cultivated aristocracy

  • Houdon urged a return to nature and innocence; he praised the “naïve poor” as closer to nature and thus more virtuous than members of the aristocracy with their artificial manners.

• People felt gestures and emotions were very authentic (compare to Poussin)

Jacques-Louis David, The Oath of the Horatii, 1784:

Student of Boucher (see next slide)! Father killed in a duel, raised by uncles who were architects; wanted him to be an architect; disillusioned by the French court; wanted to paint noble, uplifting, moral scenes; also wanted paintings to be clear, precise, easy to read

13’, in the Louvre;

Painted while in Rome; came in contact with Mengs, Winckelmann, Hamilton and admired their work; this work became immediate sensation

Roman story: border dispute between Rome and neighboring Alba settled by a sword fight involving three soldiers from each side: Horatii brothers for Rome and Curiatii brothers for Alba; a Horatii sister was engaged to a Curiatii brother, and a Horatii brother was married to a Curiatii sister;

Scene: The Horatii, led by father, take a vow to fight to the death for their country

Compare with Boucher (next slide): What is neoclassical? Composition simple and striking; hard lines; austere space; stark columns (Tuscan Doric) firm stance contrasted with mourning women

Noble and virtuous action; country above personal feelings for family

Neoclassical elements: Planarity, Linearity (sharp lines), tight brushwork, sculptural forms, Classical figures (sculpturally rendered) and themes (also clarity), moralistic subject; strong men, weak women (common depiction at the time)

Austere; bare floors and walls/ Doric columns and arches show Roman setting and frame each grouping

Lighting: harsh light casts precise shadows (influenced by Caravaggio)

Setting and costumes carefully researched

Integrated message with style

Quintessential Neoclassical picture, but horror of impending violence, bloodbath—undercurrents of Romanticism

Influential in start of French Revolution (although David wasn’t a revolutionary at the time he painted it)

Jacques-Louis David, The Death of Marat, 1793: (Louvre)

by 1791 became active in the cause of French Revolution (began in 1789); painter for the Revolution and for the new regime afterwards

His most famous portrait of the period;  a leader of the revolution and a close friend of David;

Marat was dedicated revolutionary; ruthless; a counterrevolutionary named Charlotte Corday brought him a fake petition and plunged a knife into his chest while he was reading it

Portable desk laid across his bathtub, where he spent most of his time due to  a lethal skin condition

Stark, (like Zurburan); attention to detail, sharp lighting (but not accurate; his bathroom was quite lavish, and Marat was unattractive in life); writing crate like a tombstone, Marat like poses of Christ

Planarity—in our face; horrific; also personal intensity (signature) Romantic (and idealization; not accurate; his bathroom was quite lavish, and Marat was unattractive in life; propaganda)

Qualities of Baroque: In our face: bloody knife; heroic martyr

Vigee-Lebrun, Self-Portrait with Daughter, 1789 (Louvre)

Shows impact of David’s Neoclassicism

Self taught because she was denied access to the Royal Academy; began painting portraits in her teens, but illegal because she didn’t have a license from the academy;

Married a painter and art dealer who gave her powerful contacts; became a favorite portraitist of Queen Marie-Antoinette; because of the queen’s influence, she was accepted into the Royal Academy in 1783

Reflects taste for classical (togas, Roman-style hairdo and headband; austere wall); life has begun to imitate art!

Also showed ideal of Rousseau—greater parental involvement in child-rearing (young children started showing up more in portraiture with their parents); still Rococo influence; soft contours, curvilinear patterns

“It was hard to choose my most favorite piece of art out of all the pieces that we have discussed this semester but one that I really like is “Self-Portrait with Daughter” by Marie-Louise-Elisabeth Vigee-Lebrun (1789). Not only is it beautiful but I love the love you can see between the mother and daughter. It is very easy to look at. I also love the story of the artist who painted this painting. She was denied access to the Royal Academy so she was pretty much self-taught.  She painted portraits even though it was illegal for her to do so. I love the passion that she had for art. She was very talented and I believe that it came from all the hard work that she put forth. She didn’t give up even though there were many obstacles before her. That is an inspiration for me to work harder on my art work and to be as passionate as she was.” -Sharlee Robles

Fascination with:

• Power of nature, sublime

• Exoticism

• Supernatural

• Violence/horrific themes

• Nationalism (personal past vs. classical)

• Longing for the past

• Intense emotion, passion

• Imagination

• Storytelling: Guess which one is about . . .

  Classical mythology

• How many are from contemporary times?

  Which is based on a poem by Lord Byron?

  Which is from Nordic mythology?

  Which ones have a traditional hero figure?

  • Traditional hero figure- a character archetype known for their noble qualities, courage, and heroic deeds in literature and storytelling.

Grand tour- gave concrete form to northern Europeans' ideas about the Greco-Roman world and helped foster Neoclassical ideals. The most ambitious tourists visited excavations at such sites as Pompeii, Herculaneum, and Tivoli, and purchased antiquities to decorate their homes.

Grand tour, multiyear journey, typically running through France and Italy. It was undertaken by aristocratic or wealthy young men from northern Europe, especially England, to complete their education.

• Pompeii discovery- The ruins at Pompeii were first discovered late in the 16th century by the architect Domenico Fontana. Herculaneum was discovered in 1709, and systematic excavation began there in 1738.

Francisco Goya:

• From Spain, studied in Madrid with Anton Raphael Mengs ;

• was a court painter

• Toured Italy, returned to Madrid and made court painter to Charles III and his son Charles IV (Velazquez had previously held the position); like Hogarth, painted criticisms of society; unlike Hogarth, Goya’s depictions are blunt and unadorned

Francisco Goya, The Family of Charles IV, 1800 (Emily Capra, Natalie Fisher, Liza Wilson)

Propaganda to affirm family’s divine privilege and superiority?

• Exposes their ordinariness

Goya meant it to be compared with Las Meninas (artist at easel); everyone in court would know it; Queen Maria Luisa strikes same pose as Velazquez’s infanta

What are they looking at? Mirror—missing element

• Awkwardness; uncomfortable

• Dynamic handling of paint on clothes, jewelry, medals; Charles IV did not reject painting

Francisco Goya, The Sleep of Reason Produces Monsters, c. 1799

Part of a series of prints (Los Caprichos)

Self portrait asleep at desk; imagination needs to be united with reason (Blake thought reason stifled imagination)

Like Blake, Goya becomes visionary;

Suffered illness in 1798 and became deaf; had a horrible buzzing in his ear; eventually went mad

Goya favored social reform, but then the Enlightenment became associated with revolution rather than reform, and Spain went to war with France;

Goya became ill and barely survived, going deaf in the process

Geometric block=reason; owls and bats=folly, ignorance

Logical vs. emotional, illogical; relate to out-of-control events

Many of the prints in the Caprichos series express disdain for the pre-Enlightenment practices still popular in Spain at the end of the Eighteenth century (a powerful clergy, arranged marriages, superstition, etc.). Goya uses the series to critique contemporary Spanish society.

The full epigraph for caprichio No. 43 is: "Fantasy abandoned by reason produces impossible monsters: united with her, she is the mother of the arts and the origin of their marvels."^[4]

Francisco Goya, The Third of May, 1808 (1814):

Spain was occupied by Napoleon’s troops; Napoleon put his brother, Joseph Bonaparte, on the throne in Madrid; at first the Spaniards supported Napoleon’s ideals and made friends with troops, but after a series of atrocities, they rapidly became disillusioned; national uprising against the French; a firing squad was set up to shoot anyone who appeared in the streets.

Vivid portrayal of brutalities; indictment against French troops

RECENT past; even more contemporary than Benjamin West’s; precedent to photojournalism

Comment on what happens when people lose control of reason

Church in background—why?

Indebted to Baroque: strong contrast in light for impact

Anonymous nobodies; Christ-like figure, but shows their fear

Compare with Jacques-Louis David, Oath of the Horatii, 1784

Clearly structured pattern of light and dark gives impact (Caravaggio influence)

Firing squad: faceless, mechanical uniformity

Not heroic; protest against war

Real event, but universal in significance

Goya, Saturn Devouring His Son: (Abby Stoker)

Goya began to retreat into his own world; painted on the walls of his own home (called black paintings);

Symbols of incomprehensible cruelty; fascination with irrational

Prophecy that one of Saturn’s sons would dethrone him

Jupiter/Zeus escaped and prophecy came true

Corrupt power; power turning on one’s own (Napoleon)

Flesh/meat/bone quality of figures

John Henry Fuseli, The Nightmare, 1781 (Tori Spanbauer):

Depicted world of dreams, gave form to fantasy (Freud owned one of his paintings)

Sublime terror; ignores what paintings are supposed to be about

Incubus=evil spirit

John Henry Fuseli, Thor Battering the Midgard Serpent, 1790: (friends with William Blake)

Swiss; was a minister but left to become an artist; Fuseli interested in psychology, the concept of the antihero (one who follows personal passions to attain freedom and fulfill individual needs)

Studied in Rome but dismissed Winckelmann’s adulation of the calm grandeur and noble simplicity of Greek sculpture and the perfect harmony of High Renaissance

Gravitated to Michelangelo’s twisting, muscular figures on Sistine Chapel ceiling and Last Judgment and admired distortions of Mannerists

(Thor dies from serpent’s poison); story from German equivalent of Homer’s Iliad and Odyssey; Norse epic instead of Greek mythology (Odin hovers above)

Neoclassic planarity? tight drawing? consistent lighting? smooth handling of paint? None

Dramatic light, loose brushwork, dramatic composition with extreme angles (foreshortening); we are on level with serpent; feel stormy water, chill, fear

Romanticism: horrific theme, violence, forces of nature; turn to fantasy world when life is too mechanized (Industrial Revolution)—similar to today—Iron Man, Star Wars, etc.

William Blake: Elohim Creating Adam 1795

Poet and artist from England; sought spirituality and felt divinely inspired, goal to explain reason for existence (who are we, why we are here);

Wrote in a letter to artist John Flaxman that his mind was filled with “books and pictures of old, which I wrote and painted in ages of Eternity before my mortal life.” (Geoffrey Keynes, ed., The Letters of William Blake, Cambridge: Harvard University Press, 1968, 41-42) quoted in The God Who Weeps, by Terryl and Fiona Givens

Critic of European materialism, lack of spirituality, inequality of women; also felt the Enlightenment had failed because of reign of terror after French Revolution

Joined Royal Academy in 1779 but felt it repressed imagination, creativity; not acclaimed in his lifetime for art (but was well-known for his poetry)

• The academy was founded in 1768 by a group of 40 artists and architects and was approved by George III. Its collections and classes were first held in Somerset House (now the site of the Courtauld Institute Galleries), but in 1837 the academy was moved to Trafalgar Square and in 1868 to Burlington House.

Shunned oil painting (too much associated with academy); monotype (in book)

looked to medieval manuscript painting for inspiration

Elohim creating Adam: painful ( pose like Christ on cross); compare with Michelangelo

Elohim is a Hebrew name for God. This picture illustrates the Book of Genesis:

John Constable, The Haywain, 1821: (National Gallery, London)

Haywain=the horse drawn wagon crossing the ford (in Constable’s native Suffolk)

Landscape painting; need to escape growing effects of Industrial Revolution in England, search for truth

Suffolk County; previously considered too ordinary to be subject matter for a painting; new national pride

Constable admired Claude Lorrain, loved nature; considered painting a science (close observation)

Did numerous oil sketches outdoors, but completed painting in studio; large—6-foot canvas; strategy for elevating landscape to a higher status

Attention to intangibles: light, weather, atmosphere

The Haywain in Paris exhibition in 1824; French artists very impressed; Delacroix said to have been so inspired he repainted sky in one of his works

New vibrance through sky, light, weather; Flecks of white to suggest shimmering light, broken color

Focuses on wonder of ordinary, humble settings, but not idealized or classical

Details: dog, boat, harvesters in distant field, puffs of smoke coming from mill; doesn’t show financial pressure on the Constable property, new way of life taking over (already nostalgic?)

Joseph Mallord William Turner: Snowstorm: Hannibal and His Army Crossing the Alps, 1812:

2^nd major British landscape artist in Romantic period; wanted to express sublime (powerful, awesome forces in nature)

Also interested in atmosphere, light but more expressive

Looked to great landscape painters of the past and tried to outdo them; penchant for spectacular, grandiose; turned landscapes into mythological and historical paintings on epic scale;

Hannibal: from Carthage led troops across French alps in 218 B.C. to launch a surprise attack on the Romans

“human sea of turmoil” (looks like Moses parting Red Sea); Hannibal in right corner on elephant; insignificant to wild storm; dramatic light and dark

Reference to Napoleon’s 1800 march across Alps to invade Italy? Theme: folly of empire building; human activity insignificant compared to sublime universal forces (less interested in reproducing a specific landscape)

Helped to inspire French Impressionists

Writing Topic: The Sublime
Review the Tate’s website, The Art of the Sublime and then post a comment to the discussion board that relates an idea or a painting on this site to a personal experience of the sublime that you have experienced. Your post should be substantive and descriptive. Discuss the meaning of the word “sublime” in relation to your own experiences. Once you have posted your statement on the sublime, be sure to read what others have posted and comment on at least a few of these.

JMW Turner, The Slave Ship, 1840: Museum of Fine Arts, Boston (Carolyn Breedlove, Katie Tyner)

J. M. W. Turner was inspired to paint “The Slave Ship” in 1840 after reading The History and Abolition of the Slave Trade^[2] by Thomas Clarkson. In 1781, the captain of the slave ship Zong had ordered 133 slaves to be thrown overboard so that insurance payments could be collected. This event probably inspired Turner to create his landscape and to choose to coincide its exhibition with a meeting of the British Anti-Slavery Society. Although slavery had been outlawed in the British Empire since 1833, Turner and many other abolitionists believed that slavery should be outlawed around the world.

Scott Jones:

For this assignment I chose "The Slave Ship," by Joseph Mallord William Turner. I really like this piece piece for many reasons. The first one being that it really is quite aesthetically pleasing. At first glance we can see awesome force of nature, the colorful sunset, etc. I also fell like the style of the piece is really quite interesting. I'm personally not too keen on naturalism or complete abstraction so I enjoy the stylistic view of nature. What is really striking about this painting is the underling message. For being such a beautiful piece its really quite horrifying as well. That high contrast really pushes the message farther. I really respect the artist for using his medium as a way to stand up and speak out against these horrifying acts. I feel like this conceptual drive behind it gives it a much stronger impact as well.

Caspar David Friedrich, Monk by the Sea:

Small figure of monk dwarfed by landscape; insignificant; Industrial Revolution—man taming nature; here, shows nature can’t be controlled;

Sublime: landscape is beautiful, awesome, terrifying; God’s presence shown in nature rather than in a church (monk worships outside)

Influenced by Gotthard Ludwig Kosegarten, theologian who delivered sermons on the shores of the Baltic Sea

Thomas Cole, The Oxbow, 1836:) first American art! Earlier, not a priority because struggling for survival and then Revolution; mostly portraiture;

In the early 1800’s art academies established in Pennsylvania, Boston, and NY

Struggle to find own national identity, separate from European roots: no churches of past like Europe;

Decided that the land itself was America’s spiritual heritage, unspoiled compared to Europe (overpopulated), full of natural resources;

Landscape became national symbol (in the Metropolitan Museum of Art)

America’s first art movement (1820’s) called Hudson River School (traveled along Hudson River Valley, made studies, and finished paintings in NY studios)

Oxbow made for exhibition at the National Academy of Design (he was a founding member)

Sublime? Blasted trees, storm; juxtaposed with cultivated fields (in harmony with nature?)

Human presence? (Cole by parasol)

Letters in hill spell Noah; upside down, Shaddai (Hebrew for Almighty)

Dead trees & seedlings: cycle of life, death, resurrection (similar symbol of Friedrich; mood? Optimistic)

American Transcendentalist movement: Ralph Waldo Emerson’s Nature (1836), Henry David Thoreaus’ Walden (1852)

But Cole already found the destruction of wilderness and lack of respect for the land disheartening; early environmentalist, wanted to keep landscape pure and live in harmony with the land; painted a cycle of 5 pictures called “The Course of Empire”:

Same site: Primitive, agrarian society, thriving empire, decadent empire, and state of ruin

Jean-Auguste-Dominique Ingres, Portrait of Napoleon on His Imperial Throne: student of David; how can you tell?

Ghent Altarpiece in Napoleon Museum in the Louvre—booty from his conquests (see next slide): references to God the Father; frontal pose; also emphasis on textures, details, opulence; Napoleon sanctioned by God, emperor by divine right;

Sharp lines, stark composition Neoclasical; exoticism Romantic

Golden scepter on the left of Charlemagne; ivory hand of justice of French medieval kings on the right; certify royal legacy

Ingres studied in Rome and sent back pictures for exhibition; not well received

What is true about the painting Princesse de Broglie by Ingres?

• Ingres took liberties with the anatomical details of the woman.

Antoine-Jean Gros, Napoleon in the Pesthouse at Jaffa:

student of David—what has he learned from him?

Napoleon hired Gros to paint battle scenes and glorify military campaigns; propaganda; Napoleon made sure paintings were seen at Salons and reported by the press

This painting exhibited in Paris Salon 1804, highly acclaimed (23 feet wide)

Story: Napoleon visits his troops in sick house where bubonic plague has broken out; touches open wound; meant to show bravery, humanitarianism

Truth: Napoleon poisoned these same sick troops when he left Jaffa

Influences: dramatic light of Caravaggio; damned man by Michelangelo (last Judgment); muscular nudes of Michelangelo; framing arches like David (his teacher)

Romanticism? Exotic: Islamic architecture, attendants with costumes: this painting helped launch popularity of exotic subjects—like National Geographic; also horror of death

Which detail in Gros's Napoleon Bonaparte Visiting the Plague-Stricken in Jaffa is based on a classical source? 

• the pose of Napoleon Bonaparte

Which of the following is true about the painting Napoleon Visiting the Plague-Stricken in Jaffa?

•  Napoleon understood the power of art for propaganda

Which of the following is not an influence in Gros's Napoleon Visiting the Plague-Stricken in Jaffa?

• Renaissance order and restraint
  

Gericault, The Raft of the Medusa, 1818-1819 (age 26):   Event just 3 years earlier: Medusa (French government ship) foundered and the captain gave the six lifeboats to government officials; the remaining 150 passengers had to use a makeshift raft (built just before the ship sunk); it was set adrift at command of captain; When rescued two weeks later, only a handful were still alive; event condemned in the press as an example of corruption of new king, Louis XVIII (Restoration period: restoration of king (Napoleon defeated 1815)

Moment when a distant ship is sighted; despair, death and dying lead to hope, survival; man vs. nature (Romantic: wide range of emotions, force of nature, horror, suffering)

No single hero, explores man’s inhumanity to man--inhumanity of captain towards them; also inhumanity to each other (cannibalism); tendency of romanticism to ask questions

Diagonal composition, Baroque jutting into our space, Caravaggio light and dark;

G did studies of reconstructed raft, dead bodies at the morgue, limbs, drowned bodies; tried to capture details—realistic?; Still carefully planned, organized; bodies still muscular (classical), not gaunt;

In style of a history painting; elevating contemporary subjects (not classical, Biblical subject)

“My favorite work of art this semester would have to be “The Raft of the Medusa” by Gericault because of the imagery and mood. I love how I can feel the same emotions, from despair to hope, that he portrayed in the people. I love the scale and ideas that he was making. It is just awesome.” Nathan Allred

Delacroix called himself a modern Classicist: classical muscularity; presented like a frieze;

also contemporary event: Greeks revolution against ruling Turks; Turks raided Greek island of Chios and massacred or enslaved the whole population (20,000): Europeans supported Greek independence, passion for democracy and individual freedom; also sympathized because they were Christians vs Muslims

Foreground: group rounded up for slavery or execution (also rape); hopelessness, doom, suffering; no individual heroes, but treats Greeks collectively as martyrs; villains (unfeeling soldiers at apex of pyramids): Dead and dying reminiscent of Raft of Medusa;

When he saw Constable’s Haywain at the same Salon, he repainted sky at the last minute

Critics felt it was not a subject for painting, but he became known as the great “Romantic painter” (Gericault died this year) (before Romanticism had only been applied to music (Berlioz) and writing (Victor Hugo)

What is true about Delacroix's Scene of the Massacre at Chios?

• There is no clear hero figure

Delacroix's Scene from the Massacre at Chios is considered to be an example of Romanticism because

• it is about emotion

revolting against the rolling Turks

• wasn't a free person on the island

  • massacre by the Turks

People=Do you hear the People Sing? (3:03)

Delacroix, Liberty Leading the People, 1830:

Letter to his brother:  "My bad mood is vanishing thanks to hard work. I’ve embarked on a modern subject—a barricade. And if I haven’t fought for my country at least I’ll paint for her."

Katie Beckstead

 Eugène Delacroix, Liberty Leading the People, 1830

Though we have studied many inspiring and inspired paintings this semester, this painting is one that I remember the most. I find this painting to be one of the most inspiring images for many reasons. In this work, Delacroix not only displays his great talent for detail and figure, but also for feeling and emotion. You can see in this painting the defiance in the French people, and their unwillingness to endure their sufferings any longer. It gives a sense of hope and pride in self and country. However, Delacroix does not neglect displaying the horror that comes with revolution. Bodies are strewn about, and even as the men still living charge forward, they are stepping over the bodies of their fellow brothers in the cause. This painting is a great display of both bright side and dark side to warfare.

The tricolor flag in Delacroix's Liberty Leading the People symbolizes each of these values of the Revolution EXCEPT

• education

The following details add to the Realism of the scene EXCEPT

• the heroic size of Liberty

  • but it is

    • the dead man on the street in his nightgown

    • the mixture of economic classes represented

    • the mixture of ages represented

What detail of the figure of Liberty in Delacroix's Liberty Leading the People suggests that Delacroix drew on Classical tradition?

• her face shown in profile

Delacroix's painting was deemed too radical by the government at the time because

•  it called attention to the power of the French people

All of the following characteristics are found in both Delacroix's Liberty Leading the People and Géricault's Raft of the Medusa EXCEPT

• a combination of allegorical figures and real people

Which of the following is NOT true of Delacroix's Liberty Leading the People?

• The revolution of 1830 ushered in a constitutional monarchy in which a large percentage of the population was eligible to vote.

Eugene Delacroix, Death of Sardanapalus, 1827

Story based on poem by Byron (contemporary—1821) of last Assyrian king, who was overthrown by rebels because of his immorality and slothfulness; rather than fight, he ordered his palace and all its contents to be destroyed with him in it. Indifference vs. passion of women, animals; no hero! Main character is opposite of hero

Used Baroque lighting (like Goya) to heighten emotional impact; lots of “s” shapes—writhing, snakelike; skin tones have greens, blues—emotional use of color, loose

Romantic: Turbulent, sensual, passionate involvement, color vs. line, spontaneous movement, chaotic composition vs. cool, detached, formal neoclassicism; no redeeming moral, just fascinating horror

Each of the following characteristics contributes to the emotional impact of Delacroix's The Death of Sardanapalus EXCEPT

• the heroic subject matter

The story for Delacroix's The Death of Sardanapalus comes from 

• a poem by the Romantic poet Lord Byron

Delacroix's The Death of Sardanapalus appealed to contemporary audiences because

• it had a sense of exoticism

Eugene Delacroix, Women of Algiers, 1834: Went to Morocco to document a diplomatic mission; made watercolor sketches (instead of going to Rome to study like Ingres)

Combines classical dignity with taste for exotic architecture, clothing, fabrics, tiles; visited harem (had to receive special permission) mood? Luxury, sensuousness

Palette more colorful; dappled light, color; no Neoclassical planarity and line

Shadows are colored, not black (breakthrough in painting but like Vermeer)

Nephew of Napoleon Bonaparte
First elected President of France
Last monarch to reign in France
Commissioned grand reconstruction of Paris

In 1854 Commodore Perry, US naval officer, led an expedition that forced Japan to end its policy of isolation

This opened up trade between Japan and US and Europe

Japanese prints were shown in the Paris Universal Exposition of 1867; these prints influenced art in US and Europe

Woodblock printing had begun in China in the 4^th cent. AD; in the 6^th Cent Buddhist missionaries brought the technique to Japan

First used for printing words; in the 16^th cent.  Artists began to use them to illustrate texts

17^th-cent they began using color

Most influential prints came from Edo period (1600-1868)

Edo was the name for Tokyo; residence of the emperor

Ukiyo-e school of painting (“floating world”); refers to the transience of material existence

Popular subjects: theater, dance, courtesans, everyday tasks, leisure, landscape and cityscapes, beautiful women

Linear details on face; almost no shading

3D forms? Created by contours, overlapping, foreshortening

medium- wood cut print

One of the most famous works of art in the world

Impressionist artists were astounded by it; Debussy said this image inspired his famous composition La Mer

From the series 36 views of Mt. Fuji

displays the influence of Dutch art prints that came to Japan via western trade: his own form of linear perspective, low horizon line and the distinctive European color, Prussian blue.

All of the images in the series feature a glimpse of the mountain

Full of visual play; the mountain, made tiny by the use of perspective, appears as if it too will be swallowed up by the wave. Hokusai’s optical play can also be lighthearted, and the spray from top of the crashing wave looks like snow falling on the mountain

Mt. Fuji framed; wave creates a diagonal line leading our eye to its peak

Mount Fuji is the highest mountain in Japan and has long been considered sacred

interested in oblique angles, contrasts of near and far, and contrasts of manmade and the natural

Birds’ eye view

Ukiyo-e, which originated as a Buddhist term, means "floating world" and refers to the impermanence of the world.

emphasis on line and pure, bright color, as well as their ability to distill form down to the minimum.

moved away from the tradition of making images of courtesans and actors, which was the customary subject of ukiyo-e prints. Instead, his work focused on the daily life of Japanese people from a variety of social levels. 

1867 International Exposition in Paris, Hokusai’s work was on view at the Japanese pavilion. This was the first introduction of Japanese culture to mass audiences in the West, and a craze for collecting art called Japonisme ensued. 

The breathtaking composition of this woodblock print, said to have inspired Debussy’s La Mer (The Sea) and Rilke’s Der Berg (The Mountain), ensures its reputation as an icon of world art. Hokusai cleverly played with perspective to make Japan’s grandest mountain appear as a small triangular mound within the hollow of the cresting wave. The artist became famous for his landscapes created using a palette of indigo and imported Prussian blue.

Look for unity in the composition:

Repetition of shape, color, pattern (triangle of mountain, curves of boats, pattern in waves and crests)

Creates harmony in what could be a chaotic scene; harmony in nature

Travel also a popular subject (similar to Daumier Third-Class Carriage)

Hiroshige’s last series was entitled One Hundred Views of Edo

Travelers and merchants

Busy street seen from an elevated vantage point appealed to Impressionist artists

1853 Commodore Perry opened up Japan to the west: fascination with Japanese—Madame Butterfly by Puccini, etc.)

Japanese prints: influenced by flat shapes, sharp contours, compressed space, cropping, angles

flat shapes

sharp contours

compressed (flat) space

cropping

angles

asymmetry

French poet and critic Charles Baudelaire argued that the arts should reflect the here-and-now

• Emphasis on ordinary, everyday, modern experience; neither idealized nor dramatized

  • Championed laborers and common people

Realism

• Emphasis on ordinary, everyday, modern experience; neither idealized nor dramatized

• Championed laborers and common people

• New tin tubes of oil paint

• Started having individual art exhibits (independent of art academies)

• Realism is more about content and not style

  • 
    

Gustave Courbet, The Stone Breakers, 1849: (Destroyed during WWII) In Salon same year as Burial at Ornans, life-size scale (see essay)

very realist no heroic figures

• oil on canvas

Subject? 2 workers he met outside of town pounding stones to make gravel;

How would neoclassicists have portrayed this scene? Romanticists? How have we seen people at work before? (Limbourg Brothers, Brueghel); no references to past art

Realist: inelegant, unidealized (ragged clothes, dirty; he paints what he sees; but is there any commentary? (painted only one year after Karl Marx and Friedrich Engels wrote their pamphlet, The Communist Manifesto)

Young and old—you will stay in the class you were born into all your life

Same attention to the rocks as the faces; all rough, equal detail

Common people noble and important, worthy of “history painting”

 The painting was first exhibited at the Paris Salon of 1850. It was destroyed during World War II, along with 154 other pictures, when a transport vehicle moving the pictures to the castle of Königstein, near Dresden, was bombed by Allied forces in February 1945.^[2]

Color photography was invented in 1907, but it wasn’t until 1935 that it became popular.

no genre painting this size

• for art contest, historical section

  • burial of his uncle

only paint things you can see

Gustave Courbet, Burial at Ornans, 1849-50: 22 feet wide

democracy in painting

• each person in the painting are equal

• no idealization

• people don't interact with each other

  • individual experiences

  • self portraits of his family in painting

Doesn’t look radical, but idea was radical

Realism=real life

Accepted at the Salon in 1850, people criticized because of common people, common clothing,  common setting; dog

Whose funeral? We don’t even know. Just reporting the scene

“history painting” about real life. “Show me an angel and I’ll paint one.”

Monumental paintings used to be religious or mythological: Courbet thought average, everyday people worthy of monumental painting

Not even a story, like Raft of Medusa

Rosa Bonheur, Plowing in the Nivernais, 1849 (3:28)

• She also began dressing like a man,(was illegal) having received a permit to do so from the Paris police. This, she explained, was necessitated by her going to paint in the rough all-male atmosphere of the Paris slaughterhouses as Gericault had done.

father is an artist

• painted from young age

• good at painting landscapes and animals

• oxen moving looking like they will walk out of painting

• emphasis landscape

  • high labeled professional painter

    • huge animal paintings

Also showed at 1850 Salon

guy in painting- Musee d’Orsay

Studied with her father—drawing instructor and socialist who advocated full equality for women

Determined to be a successful artist; worked on a large scale

Technical finesse: scientific detail of farm animals, specific species